Räumliche Vorstellungen als "Grundfunktionen des Hörens". Historische Dimensionen und formanalytische Potenziale musikbezogener Architektur- und Raummetapern - eine Diskussion anhand von Werken Guillaume Dufays, Joseph Haydns und Edgard Varèses

The tension between a realtime oriented conceptopn of music as a flow of emphemeral sounds or events, closely associated with the organicist metaphor, an a spatial or architectonic conception of musical relationships, emerging from the centuries-old "frozen architecture" metaphor, lies at the heart of the theory and analysis of musical form from its beginnings as an academic discipline in the mid-nineteenth century. Revisiting the controversial debate in historical music theories (Marx, Reimann, Schenker, Schoenberg, Kurth et al.) up to the "spatial turn" in new music aesthetics, the presented essay argues for a close interdependency of spatial and temporal aspects in the analysis of musical form. Based on a perception- and performance-sensitive analytical approach, three main case studies from different epochs (Guillaume Dufay's motet "Nuper rosarum flores," Joseph Haydn's symphonies Hob. I:55, 86, and 91, as well as Edgard Varèse's "Arcana for Orchestra") demonstrate the continuous impact and relevance of quasi-spatial "markers" in times as crucial aspects of a conception and perception of form while revealing evident transformational and processual qualities. By connecting these dimensions of formal "time-space" with historical discourses and contexts, the analyses aim at a convergence of speculative compositional practice and historically informed aesthetic experience. [PUBLICATION ABSTRACT]